December 2014 - Page 4 of 18 - Auction Central News

Stephenson’s to launch New Year with sparkling Jan. 1 auction

22K gold ring with lapis lazuli and turquoise stones, possibly Egyptian, 15.3 grams. Est. $400-$600. Stephenson's Auctioneers image

PHILA., Pa. – Philadelphia is a city of decorum and tradition, and to those in the region who collect and sell antiques, the first tradition of each year is attending Stephenson’s New Year’s Day Auction. Family owned since 1962, Stephenson’s, in suburban Bucks County, specializes in fresh to the market estate goods and collections from the Mid-Atlantic states. Throughout the year, the company’s specialists carefully curate and set aside rare, beautiful and interesting objects specifically to offer in their New Year’s auction. Their Jan. 1, 2015 sale selection is characterized by the soft glow of silver, gold and platinum; the mystery and serenity of a rare 15th-century Tibetan Buddha, and a variety of important art with a Philadelphia connection.

LiveAuctioneers.com will provide Internet live bidding.

During the opening hour of the sale, Stephenson’s auctioneer and owner, Cindy Stephenson, will present fine glass, crystal and porcelain, including oyster plate collections from two gracious Philadelphia-area homes. Some of the plates have a turkey depiction on them and are less commonly seen than standard oyster plates. Lot 60 consists of nine Haviland & Co., Limoges turkey oyster plates. Wonderfully decorated, the set is expected to make $500-$800.

Also included in the porcelain section are several fish service plates and sets. Lot 58, a 15-piece Limoges porcelain fish set, contains 12 plates, a sauceboat, under tray and platter. Each piece is hand painted and has fancy gilt edges. The set is entered in the sale with a $500-$800 estimate.

An Asian treasure attributed to 15th-century Tibet, Lot 90B is a bronze-dore statue of Amitayus (Sanskrit), the Buddha of Infinite Light and Infinite Life. The 4¾-inch-high depiction of the ancient deity was cast using the lost wax method. It comes to auction from a Philadelphia estate and, according to its provenance, it was purchased in 1989 from Jaipaul Gallery in Philadelphia. The statue’s estimate is $500-$800, and according to auctioneer Stephenson, it is already attracting “a lot of interest.”

Close to 90 lots of outstanding American, Continental and Russian silver will follow. Flatware offerings include two sets by Stieff (Williamsburg Queen Anne and Princess patterns) and two sets by Gorham (Chantilly and Lyric). Whether the preference is for tea or coffee, there will be many services available to do double duty. Among them are tea and coffee sets by J.E. Caldwell, C.M. Cohr, David Andersen, Gorham and other premier names.

Estimated at $800-$1,200, Lot 116 is a silver tankard of .830 silver hand-crafted by J. Tolstrup of Oslo, Norway. Masterfully engraved and decorated with floral and foliate repousse embellishments, it stands on three ball-and-claw feet and has a three-dimensional lion “tipper” on its lid. The estimate is set at $800-$1,200.

A prime example of Russian excellence in cloisonné enamel artistry, Lot 153 is a silver kovsh with jeweled cabochons and floral decorations. Beneath its base is the mark for Kokoshnik Moscow. Measuring 4 inches by 2 inches and having a total weight of 2.61 ozt, the kovsh displays all of the aesthetic features that appeal to collectors of Russian fine metalwork. Its estimate is $300-$600.

Lot 342, a bronze plaque with figures by Stella Elkins Tyler, has a strong connection to Philadelphia. In 1964, Bucks County Community College was founded on the estate formerly belonging to Tyler – heiress to a Gilded Age fortune – and her husband, George. With its grand architecture and sumptuous formal gardens, the suburban Newtown property was the perfect setting for many of Stella Tyler’s bronze sculptures. Decades earlier, in 1935, her first home, located in Philadelphia’s exclusive Elkins Park, became the Stella Elkins Tyler School of Fine Arts of Temple University.

The signed 20th-century bronze plaque in Stephenson’s New Year’s Day auction measures 16 by 21 inches and is estimated at $1,200-$3,000.

The City of Brotherly Love was also the setting in 1838 for the printing of a series of hand-colored folio lithographs for McKenney & Hall’s History of the Native American Tribes of North America. Lot 355 consists of four lithographs from the publication, each measuring 18 by 12½ inches (sight). At one point in their trail of ownership, they were acquired from the Philadelphia Print Shop in the city’s historic Chestnut Hill neighborhood. Accompanied by a letter and brochure from the print shop, they will be offered as one lot with a pre-auction estimate of $1,200-$3,000.

Lots 362 and 363 are watercolors on paper by Philadelphia artist John B. Lear Jr. (1910-2008). Each is a quintessential example of Lear’s style – which focused on figures and human anatomy – and carries a $500-$1,000 estimate.

Almost every Stephenson’s event includes an extensive selection of estate jewelry, and the Jan. 1 sale is no exception. Among the top highlights is Lot 282, an unusual 18K white gold eternity band designed with alternating single and stacked double diamonds. In total, there are 18 marquise-cut diamonds with a total carat weight of 3.42 carats. Stylish and very different from traditional eternity bands, it is expected to reach $3,000-$4,000 on auction day.

Also poised for the spotlight is Lot 180, a 22K gold ring, possibly of Egyptian origin, with lapis lazuli and turquoise artfully arranged around a center lapis cabochon stone. A true statement piece, the circa-1980 ring is estimated at $400-$600.

Stephenson’s Thursday, Jan. 1 New Year’s Day Auction will begin at 10 a.m. Eastern Time. For additional information on any lot in the sale, call Cindy Stephenson at 215-322-6182 or e-mail info@stephensonsauction.com.

View the fully illustrated online catalog and sign up to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

ADDITIONAL LOTS OF NOTE

Limoges porcelain fish service. Stephenson's Auctioneers image — Limoges porcelain fish service. Stephenson’s Auctioneers image

Nine Haviland & Co. Limoges turkey oyster plates. Stephenson's Auctioneers image — Nine Haviland & Co. Limoges turkey oyster plates. Stephenson’s Auctioneers image

Dore bronze statue of Amitayus, Buddha of infinite life and infinite light, attrib. 15th century, Tibet. Est. $500-$800. Stephenson's Auctioneers image — Dore bronze statue of Amitayus, Buddha of infinite life and infinite light, attrib. 15th century, Tibet. Est. $500-$800. Stephenson’s Auctioneers image

Stieff Williamsburg Queen Anne sterling silver flatware set, one of many silver services to be offered. Stephenson's Auctioneers image — Stieff Williamsburg Queen Anne sterling silver flatware set, one of many silver services to be offered. Stephenson’s Auctioneers image

J. Tolstrup, Oslo, .830 silver tankard with ball and claw feet. Est. $800-$1,200. Stephenson's Auctioneers image — J. Tolstrup, Oslo, .830 silver tankard with ball and claw feet. Est. $800-$1,200. Stephenson’s Auctioneers image

Russian kovsh, enameled silver, cloisonne and jewels, Moscow Kokoshnik mark on bottom, 2.61ozt. Est. $300-$600. Stephenson's Auctioneers image — Russian kovsh, enameled silver, cloisonne and jewels, Moscow Kokoshnik mark on bottom, 2.61ozt. Est. $300-$600. Stephenson’s Auctioneers image

Set of 4 folio lithographs from 'History of the Native American Tribes of North America, printed in Philadelphia in 1838 for McKenney & Hall. Lot estimate $1,200-$3,000. Stephenson's Auctioneers image — Set of 4 folio lithographs from ‘History of the Native American Tribes of North America, printed in Philadelphia in 1838 for McKenney & Hall. Lot estimate $1,200-$3,000. Stephenson’s Auctioneers image

18K diamond eternity band. Est. $3,000-$4,000. Stephenson's Auctioneers image — 18K diamond eternity band. Est. $3,000-$4,000. Stephenson’s Auctioneers image

Closeup of detail on Stella Elkins Tyler bronze plaque. Est. $1,200-$3,000. Stephenson's Auctioneers image — Closeup of detail on Stella Elkins Tyler bronze plaque. Est. $1,200-$3,000. Stephenson’s Auctioneers image

Pittsburgh old-school booksellers thrive in digital age

Limited collector's edition of Michael Chabon's 'The Yiddish Policemen's Union,' in wooden slipcase. Image courtesy of LiveAuctioneers.com archive and PBA Galleries.

PITTSBURGH (AP) – John Schulman didn’t think much of the Internet back in the early 1990s, when he and his wife opened Caliban Book Shop in Pittsburgh.

He still has reservations about the web, but he and his wife, Emily Hetzel, have learned to benefit from it: About 60 percent of their sales happen online.

Caliban specializes in hard-to-find, out-of-print and author-signed books: It has 30,000 books at its shop on Craig Street in Oakland and 150,000 more in a Wilkinsburg warehouse.

The real joys of owning a bookstore, Schulman said, come from meeting interesting people who pass through the shop’s door and the serendipity of finding a rare book.

“Despite the Internet, Pittsburghers are prone to going out shopping, being friendly and not being isolated,” said Schulman, 50, of Squirrel Hill. “There’s something about the culture of Pittsburgh that lends itself to the book scene.”

Even in the age of e-books and Amazon.com’s dominance of online book sales, old-school retailers in Pittsburgh are finding a niche from trading on their knowledge of books, their connections to local authors and the customer experience of poring over shelves of dusty tomes.

“Some are just beautiful to look at,” said Jenny Soracco, 22, of Lawrenceville, who was flipping through the pages of a book on Eskimo basketry with a friend from Singapore. Both graduated from Carnegie Mellon University in the spring.

“There’s a little bit of history in each book with the people who owned it before,” she said.

Independent booksellers who feared the Internet would put them out of business have found advantages online, said Susan Benne, executive director of the Antiquarian Booksellers’ Association of America, a trade group based in New York.

The group has 440 members – fewer than it did 20 years ago, but a consistent number over the past decade. Books once deemed to be scarce are common online, and booksellers have gotten smart about selling wares by using social media, Benne said.

“Certainly it’s still evolving, but one thing we do notice is that different methods of selling, like social media, are having a positive impact,” she said. “Using social media as advertising and promotion really requires only the cost of one’s time and the use of wit.”

Inventory from varied sources

Caliban gets many books from people unloading them for one reason or another – a death in the family, downsizing, divorce.

Bruce Miller, 57, of Oakmont hoped to sell an 1897 copy of Messages and Papers of the Presidents. A friend gave Miller the book in return for painting a room, but Schulman said so many copies exist that it has little financial value.

Playwright Attilio “Buck” Favorini, 71, of Squirrel Hill stopped by a short while later with a box of books from his career in the theater. He gave away about half of his collection before retiring last year, but he has 22 cartons at home. Schulman gave him $20.

Books at Caliban range from free, donated items on the street to rare books worth thousands of dollars, including a first edition of Harriet Beecher Stowe’s Uncle Tom’s Cabin priced at $12,000. Schulman acquired the book from the widow of a collector.

Signed books fetch big bucks

A set of six signed books by author Michael Chabon is listed for $2,500. The autographs are inscribed to Jay Dantry, the former owner of Jay’s Book Stall, an Oakland shop that closed in 2008, or his partner, Harry Schwalb.

Chabon, who worked for the bookstore while attending CMU, is the acclaimed author of The Mysteries of Pittsburgh (1988); Wonder Boys (1995); The Amazing Adventures of Kavalier & Clay (2000); The Yiddish Policemen’s Union (2007); Gentlemen of the Road (2007); and Telegraph Avenue (2012).

Schulman recently purchased a handmade book, Im Nebel, published in Rheinback, Germany. Beyond its craftsmanship, Schulman said, the book has value because only 40 copies were made and none is available on the Internet.

Other books are more affordable: Signed copies of David McCullough’s The Johnstown Flood and Hillary Clinton’s It Takes a Village are listed at $125 each. The store recently sold a signed copy of August Wilson’s Three Plays for its list price of $170.

The store has a “signed” first edition of Jack London’s White Fang for $100. Unsigned copies can go for $200, but this copy has a bogus signature – written in ballpoint pen and dated 1907, years before the pens were invented. The seller purchased the book online.

Schulman said he bought the book as proof of the uncertain authenticity of items online and the relevance of booksellers who can verify them.

“Indie bookstores do worry about an age that will come when we’re no longer regarded as purveyors of information but as curio shops of things that people used to find useful and interesting,” he said.

___

Online:

http://bit.ly/1AQvERx

___

Information from: Pittsburgh Tribune-Review, http://pghtrib.com

AP-WF-12-22-14 1639GMT

ADDITIONAL IMAGE OF NOTE

Auktionsgespraeche: Grundsätzlich Belsnickle

Viele der Belsnickel Süßigkeitenbehälter, wie dieser Geselle, wurden am Boden zusammengeklebt, um später als Weihnachtsdekoration genutzt zu werden. Mit seinem geschmückten Baum und der starken Bedeckung mit funkelndem Glimmer brachte dieser Belsnickel €7795 bei Dan Morphy Auctions’ September, 2011. Foto mit freundlicher Genehmigung von Dan Morphy Auctions, LLC

SAXONY, Deutschland – Vor zwanzig Jahren sagte Lorraine Jones aus Peabody, Massachusetts, zu Ihrem Ehemann, sie wäre zufrieden, wenn sie einen Belsnickel-Süßigkeitenbehälter kaufen würde. Vierundneunzig Belsnickels später hat Lorraine Jones eine kleine Schar der zerbrechlichen deutschen Süßigkeitenbehälter aus papier-mâché gesammelt, an welchen Sie sich das ganze Jahr erfreut.

“Ich sehe einen Belsnickel und werde ganz aufgeregt. In meinem Herzen bin ich ein kleines Kind geblieben.”, sagt Lorraine Jones mit unterdrücktem Lachen. “Ich denke, ich halte meine kindliche Erregung am Leben. Meine Mutter ist bereits gestorben und sie hatte die Weihnachtszeit so gern. Die Belsnickels halten das für mich am Leben.”

Belsnickel ist nicht der Weihnachtsmann. Obwohl das Wissen über seinen tatsächlichen Ursprung inzwischen mit dem Weihnachtsschnee dahingeschmolzen ist, stellt er den strengen Charakter dar, der die Kinder lange vor Weihnachten besucht, um zu sehen, wer “böse” und wer artig gewesen ist. Seine dünne und finstere Präsenz, ein Sack mit Leckereien in der einen Hand und ein Bund wippender Gerten in der anderen war genug, um durch den Schreck in jedem Kind die Tugendhaftigkeit zu wecken.

Die deutsche Tradition kommt aus jener Zeit, als Skt. Nicolaus und das Christkind, dargestellt als blonder Engel in einem weißen Kleid, gemeinsam ihre Runden machten. Aber nach der Reformation im 16. Jh. war Skt. Nicolaus verpönt. Um die entstandene Lücke zu füllen, ersannen verschiedene Regionen ihren eigenen Charakter. In Hessen wurde er zum “Pelznickel”, also der “Nicolaus gekleidet in Fell”. In Schwaben wurde es der “Pelzmärtle”. In Rheinland-Pfalz, wo das harte “P” eher wie “B” gesprochen wird, wurde er zum “Belznickel”.

Die Tradition verbreitete sich mit auswandernden Deutschen. In Brasilien blühte Pelznickel auf. “Die Norddeutschen brachten Belsnickel mit, als Sie nach Pennsylvania zogen.” erklärt Lorraine Jones. Tatsächlich lebt die Tradition bei den Nachkommen der Einwanderer in Pennsylvania fort.

Ungefähr um 1870 begann die Produktion von Papier- mâché Belsnickels in Sonneberg, Thüringen, für den Export. Die Herstellung von Belsnickels paste zur Gegend, die bereits für ausdruckstarke und wunderschöne Puppen berühmt war.

Ein Belsnickel wurde in 2 Gipsformen für Vorder- und Rückseite hergestellt. Dann wurden die beiden Hälften getrocknet, zusammengefügt und bemalt. Einige waren einfach nur Dekoration, andere wurden zu Süßigkeitenbehältern für Kinder zur Weihnachtszeit.

Die Hände der Belsnickels stecken normalerweise in den Ärmeln des Mantels aber manchmal auch in entspannterer Position außerhalb. Manche sehen aus, als hätten Sie einen Buckel. Sie haben unwiderstehliche Gesichtszüge mit ausdrucksstarken Augenbrauen, streng aber weise. Es ist der perfekte Gesichtsausdruck, um Strafen für unartiges Benehmen auszuteilen. Während Kinder wahrscheinlich Angst vor Belsnickel hatten, sein Abbild auf einem Süßigkeitenbehälter war auf eine kuschelige Art und Weise liebenswert.

“Einige Süßigkeitenbehälter teilen sich an Beinen, andere an der Taille.” erklärt Lorraine Jones. “Innen ist eine kleine Papierröhre. Ich denke, dass diese für Süßigkeiten, Kekse, Nüsse oder kleines Spielzeug genutzt wurde.”

Lorraine Jones sammelt diese zerbrechlichen Süßigkeitenbehälter seit 20 Jahren, wobei Sie Antiquitätenhandlungen, Auktionen und sogar ebay durchkämmt. Während dieser Zeit konnte Sie beobachten, wie die Preise von einigen hundert Dollar auf wörtlich tausende für einen großen, gut erhaltenen Belsnickel stiegen. Selbstverständlich vergisst sie nie ihren ersten.

“Ich sehe meinen ersten Belsnickel an und es ist solch ein guter. Nur ungefähr 13 cm hoch und sein Baum ist bis auf den Draht abgenutzt. Es ist keine Farbe übrig und seine Augen fallen heraus.”, erzählt Lorraine Jones. Aber man kann am Ton ihrer Stimme hören, dass Sie ihn wie eine Mutter ihr zwar unansehnliches aber dennoch geliebtes Kind beschreibt. Er hat einen speziellen Platz in ihrer, mit einem Spiegel in der Rückwand ausgerüsteten Glasvitrine verdient.

Der Künstler Scott Smith vom Rucus Studio in Michigan kann das nachempfinden. Seine Belsnickels haben einen Ehrenplatz in einer Glasvitrine in einem Studio. Er bezieht Inspiration aus ihren detaillierten Gesichtszügen.

“Ich sammle jede antike Weihnachtsdekoration aber die Süßigkeitenbehälter sprechen mich besonders wegen ihrer Mixtur aus Konzept und Funktion an – es ist eine dekorative Figur, hat aber auch einen anderen Nutzen.”, sagt Scott Smith. “Mir gefallen die Belnickels wegen ihrer elfengleichen, rustikalen Erscheinung. Sie können reizend und einfach oder kunstvoll und bedrohlich sein.”

Nach Jahren der Arbeit als professioneller Künstler und Kunstdirektor, eröffnete Scott im Jahr 2000 sein eigenes Studio. Einen ähnlichen Modellierungsprozess nutzend, formt er seinen eigenen skurrilen Charaktere – Eulen, Monde, Menschen mit Kürbisköpfen – die aussehen, als wären sie einem Geschichtenbuch entstiegen.

“Ich versuche dieselben Methoden zu verwenden aber wir haben nicht die gleichen Materialien und Rezepte zur Verfügung.”, erwähnt Smith.

Er bringt das in Verbindung damit, dass die Herstellung der Belsnickels hauptsächlich in Heimarbeit stattfand. Ganze Familien haben an dem Projekt gearbeitet, nutzend ihre eigenen handgeschnitzten Gipsformen und geheimen Rezepte für die Papier-mâché oder Ton, der hineingepresst wurde.

“Manchmal musten sie die Materialien nutzen, die sie zur Hand hatten.”, erklärt Smith. “Die Belsnickels konnten nicht schimmeln oder verrotten oder von Tieren gefressen werden. Trotzdem bin ich sicher, dass es nicht ihre vorrangige Absicht war, dass diese Dinge 100 Jahre und länger erhalten bleiben.”

Es ist bemerkenswert, dass die Süßigkeitenbehälter nicht nur ihr erstes Öffnen durch kleine Finger überlebten, sondern wieder zusammengeklebt auch als Weihnachtsdekoration für kommende Generationen dienen. Die Vielfalt der Belsnickels ist wirklich erstaunlich. Es gibt sie mit Kapuzenmänteln in vielen unterschiedlichen Farbtönen, von Rot bis tiefes Pflaumenviolett, rosa, gelb, weis, grün, blau und manchmal braun. Oft glitzern ihre Mäntel vor Glimmer oder sind mit echtem Fell besetzt. Sie hocken mit ihren schwarzen Stiefeln auf schneebdeckten Hügeln oder vor Bäumen. Viele tragen Federhüte oder Körbe mit Spielzeug, manchmal mit einer winzigen amerikanischen Flagge, als ob scheinbar alle für en Export herstellt wären.

“Sie wurden in vollendeter Handwerkskunst hergestellt, von sehr ausgeklügelt bis einfach und bezahlbar für den Durchschnittsverbraucher.”, sagt Smith. “Sie haben alles vom 5-7 cm Ornament bis zu 15-20 cm Süßigkeitenbehälter gemacht – was die mittlere Größe war. 35 – 90 cm große Behälter für sehr wohlhabende Familien oder um Geschäftsauslagen zu halten, um Kundschaft in den Laden zu ziehen.”

Der Erste Weltkrieg hat seinen Tribut von der Belsnickelindustrie gefordert. Viele Gipsformen wurden zerstört, Material wurde knapp. Die späteren Belsnickel waren mehr wie Pappe, manchmal sogar gestapelt. Es erschienen auch japanische Belsnickel auf dem Markt. “Aber”, sagt Lorraine Jones bezugnehmend auf die Hautfarbe, “sie waren rosa, rosa, rosa!”.

Belsnickel kam aus der Mode. Deutsche Kinder interessierten sich mehr für den Weihnachtsmann, der am Heiligabend die Geschenke brachte. In den USA wurde Santa Claus ein lustiger, fröhlicher alter Elf, was durch die Illustrationen von Thomas Nast in den frühen 1880ern und dem rotgekleideten Coca-Cola-Santa der 1930er unterstützt wurde. Allerdings blieb eine andere, unheimlichere Form des „Bestrafers“ in Österreich bestehen.

Als Bill Steely aus Westchester County, New York, seine erste „Golden Glow of Christmas Past“ –Veranstaltung besuchte, war seine sechsjährige Tochter Chloe das einzige Familienmitglied, das mitgehen wollte.

„Im ersten Raum entdeckten wir Krampus und sagten: ‚Wow! Was Hat der Teufel mit Weihnachten zu tun?‘“

Einige Ostdeutsche kennen Belznickel noch als Knecht Ruprecht. Aber Österreich klammert sich an eine Kreatur mit Hufen und Hörnern, die sich Krampus nennt.

„Von allen bösen Personen war Krampus ziemlich übel,“ erklärte Steely. „Er steckte dich in seinen Sack und nahm dich mit in die Tiefen der Hölle. Wenn es also dein Ziel ist, kleine Kinder durch Angst zum Gutsein zu zwingen, dann erreicht Krampus dieses Ziel.“

Chloe ist jetzt 19, und die Steelys haben eine ganze Palette von Krampus-Sammelobjekten. Aber sie haben auch einen Faible für Belsnickel. Schließlich muss man fair bleiben.

Besuchen Sie diese Websiten, um weitere Informationen zu erhalten: www.GoldenGlow.org; www.RucusStudio.com

ADDITIONAL IMAGES OF NOTE

Dieser hrvoragende Belsnickel Süßigkeitenbehälter, mit fließenden Perlen und Fderbaum, verkauft für €5744 bei Bertoia Auctions’ im September, 2014. Wie viele Belsnickel Süßigkeitenbehälter teilt sich dieser an den Füßen, um eine intakte Röhre zum Verstauen von Süßigkeiten oder kleinen Spielzeugen zu enthüllen. Foto mit freundlicher Genehmigung von Bertoia Auktionen.

Alle Belsnickels sind zerbrechlich aber es ist besonders erstaunlich, das diese 50-cm-Figur mit Glasaugen und Eiszapfenbart völlig intakt überlebt hat. Diese seltene Figur, auf mit Glimmer besprenkeltem Schneehügel stehend, einen wippenden Federbaum haltend, erzielte €13950 bei Bertoia Auctions’ November, 2013. Foto mit freundlicher Genehmigung von Bertoia Auktionen.

An unusual crowned Belsnickle, early 20th century, with yellow flocked trim sold at auction by Pook & Pook in October 2010 for $3,800. Photo courtesy Pook & Pook.

Dieser atemberaubende 45 cm hohe goldene Belsnickel Süßigkeitenbehälter brachte €4923 bei Dan Morphy Auctions’ September, 2011. Foto mit freundlicher Genehmigung von Dan Morphy Auctions, LLC

Ein paar Belsnickels aus der Kollektion von Lorraine Jones. Die Steuerberaterin aus Peabody, Massachusetts, sagt, dass sie oft den Raum geht mit der Glasvitrine besucht, nur um sie anzusehen. Foto mit freundlicher Genehmigung von Lorraine Jones.

Loraine Jones nutzt ihre Belsnickels auch als Weihnachtsdekoration. Hier zu sehen ein einige Belsnickels auf dem Kaminsims mit einem Reklamegemälde vom Weihnachtsmann, gemalt von Fred Craft. Foto mit freundlicher Genehmigung von Lorraine Jones.

Dieser Belsnickel mit seelevollen Augen und Stoffmantel sieht fast wie ein moderner Weihnachtsmann aus. Foto mit freundlicher Genehmigung von Lorraine Jones.

Die Belsnickel-Sammlung von Scott Smith verbringt die meiste Zeit in einer Glasvitrine seines Künstlerstudios. Foto mit freundlicher Genehmigung von Scott Smith, Rucus Studios, Michigan.

Ein Paar der Figuren aus der Kollektion von Scott Smith zeigt Belsnickel als Strafer mit seinem Bund von Stöcken und das Christkind mit einem Sack voller Geschenke. Foto mit freundlicher Genehmigung von Scott Smith, Rucus Studios, Michigan.

Eine typische Art, wie Scott Smith seine Belsnickels als Feiertagsdekoration nutzt. Foto mit freundlicher Genehmigung von Scott Smith, Rucus Studios, Michigan.

Bill Steely hat eine Kollektion Belsnickles mit entblößten Händen in entspannten Posituren gesammelt. Foto mit freundlicher Genehmigung von Bill Steely.

Verglichen mit Belsnickel, ist Krampus ein wirklich Angst einflößender Charakter. Hier eine dekorative Krampusmaske aus der Sammlung von Bill Steely, Westchester County, NY. Foto mit freundlicher Genehmigung von Bill Steely.

Auction Talk Germany: Basically Belsnickle

Many of the Belsnickle candy containers, like this judgmental fellow, were glued together at the base for later use as a Christmas decoration. With his decorated tree and heavy coating of sparking micra, this Belsnickle still brought $9,500 at Dan Morphy Auctions’ September 2011 sale. Photo courtesy Dan Morphy Auctions LLC.

SAXONY, Germany – Twenty years ago, Lorraine Jones of Peabody, Mass.,, told her husband she thought she would be content if she bought just one Belsnickle candy container. Forty-nine Belsnickles later, Jones has collected a small troop of the fragile German papier-mâché candy containers that bring her year-round joy.

“I see a Belsnickle and get all excited. I live my life being a little child in my heart,” said Jones, trying to contain her laughter. “I guess I’m keeping that childhood excitement alive. My mother is gone, and she had such a love of Christmas. The Belsnickles keep that alive for me.”

Belsnickle is no Santa Claus. Although his true origins have vanished with the Christmas snow, he is the stern character who visited children a few weeks before Christmas to see who was naughty and who was nice. His thin, scowling presence, a sack of goodies in one hand and a bundle of whipping switches in the other, was enough to terrify the goodness into any child.

The German tradition dates back to a time when St. Nicholas and the Kristkind or Christ Child, represented as a blond angel dressed in white, made the rounds together. But after the Protestant Reformation in the 16th century, St. Nicholas was frowned upon. In order to fill the void, various regions devised their own character. In Hessen he became “Pelznickle,” which means “Nicholas in Fur.” In Schwäben it was “Pelzmärtle.” In Rheinland Falls they pronounced the “P” as a “B” and he became Belznickle.

The tradition spread as Germans emigrated to other countries. In Brazil Pelznickle flourished.

“The northern Germans brought Belsnickle with them when they moved to Pennsylvania.” explained Jones. Indeed the Pennsylvania Dutch (which comes from Deutsch, i.e. Germans), still have the tradition of Belsnickle.

Around 1870 papier-mâché composition Belsnickles began to be made in Sonneberg, Thuringia, Germany, for export. The crafting of Belsnickles there was fitting, as the area was already renowned for their expressive and beautiful dolls.

A Belsnickle was formed in two plaster molds, front and back. Then the two halves were dried and joined together, finished and painted. Some were purely decorative; others were made into candy containers given to children at Christmastime.

The Belsnickles’ hands are usually tucked tight inside their coat sleeves, but sometimes they strike a more relaxed pose. Some of them look a little hunch-backed. They have arresting faces, with expressive eyebrows, looking stern but wise. It is the perfect expression for meting out punishment for naughty behavior. While children were probably scared of Belsnickle, his image on a candy container was loveable in an overbundled sort of way.

“With the candy containers, some separate at the legs – the boots slide off; and some separate at the waist,” notes Jones. “Inside there is a little paper tube. I think it was used for candy, cookies, nuts or little toys.”

Jones has been collecting these fragile Belsnickle candy containers for 20 years, scouring antique shops, auctions and even Ebay. During this time she has watched the price increase from a few hundred dollars to literally thousands for a large Belsnickle in very good condition. Of course, she never forgets her first one.

“I look at my first Belsnickle and he is not such a good one. Only about 5 inches high, and his tree is worn down to a wire, he has no color left, and his eyes are chipping away,” said Jones. But you can tell by the tone of her voice that she is like a mother describing a homely but well-loved child. He has earned a special place in her mirror-backed glass display cabinet. Artist Scott Smith of Rucus Studio in Michigan can sympathize. His Belsnickles hold a place of honor in a glass display case in his studio. He draws inspiration from their detailed faces.

“I collect all antique Christmas, but the candy containers appeal to me because they have a mix of concept and function – it’s a decorative figurine, but it also had another use,” said Smith. “I like the Belsnickles because they have that elf-like, woodland appeal. They can be cute and simple or elaborate and menacing.”

After working for years as a commercial artist and art director, Smith opened his own studio in 2000. Using a similar molding process, he sculpts his own whimsical characters – owls, moons, pumpkin-headed people – that look like they stepped from the pages of a story book.

“I try to use the same methods, but we don’t have the same materials and recipes they had,” noted Smith.

He related that the making of Belsnickles was truly a cottage industry. Whole families worked on the project, using their own hand-carved plaster molds and secret recipes for the papier-mâché or chalk “clay” that was pressed into them.

“Sometimes they had to make do with the materials they had,” noted Smith. “The Belsnickles could not mold or rot or be eaten by animals. Yet I’m sure they had no thought in their minds that these things would last for 100 years or more.”

It is remarkable that the candy containers survived not only their first opening by little fingers, but sometimes even being glued together to use as a Christmas decoration for generations to come.

The variety of Belsnickles is truly amazing. They can be found with hooded coats of many different hues, from red, to deep plum purple, pink, yellow, white, blue, green and even sometimes brown. Often their coats sparkle with mica glitter or are trimmed with real fur. They perch in their black boots on snow-covered mounds or in front of trees. Many carry feather trees or baskets of toys, sometimes with a tiny American flag, as virtually all were made for export.

“They were made with high-end craftsmanship, from very elaborate to cheap and affordable for the average consumer,” said Smith. “They made everything from a 2-3 inch (5-7cm) ornament, to 6-8 inch (15-20cm) candy container – that was the average size, to 14, 24, or 36 inch (35, 61, 92cm) larger ones for very wealthy families or for store displays to attract customers into a shop.”

World War I took its toll on the Belsnickle industry. Many of the plaster molds were destroyed; materials were scarce. Belsnickles made after this time period were more like cardboard, sometimes even stapled together at the sides. Japanese Belsnickles also appeared on the market, “But,” says Lorraine Jones referring to skin color, “They were pink, pink, pink!”

Belsnickle fell out of fashion. German children became more interested in the Weihnachtsmann, who brought their presents on Christmas Eve. In the U.S. Santa Claus was becoming a jollier, happier old elf, helped along by the illustrations of Thomas Nast in the early 1880s and the red-suited Coca Cola Santa of the 1930s. Even so, another more sinister form of “the punisher” persisted in Austria.

When Bill Steely of Westchester County, N.Y., attended his first Golden Glow of Christmas Past convention, the only family member willing to go with him was his then 6-year old daughter Chloe.

“At our first room hop we discovered Krampus, and said, ‘Woa! What does a devil have to do with Christmas?”

Some eastern Germans still know Belznickle as Knecht Ruprecht. But Austria clings to a hooved and horned creature called Krampus.

“Of all the bad personas, Krampus was quite severe,” explained Steely. “He would put you in his sack and take you to the depths of hell. So if your goal is to scare your children into being good, Krampus really meets that goal.”

Chloe is now 19, and the Steelys have a full range of Krampus collectibles. But they also have a soft spot for Belsnickle. After all, fair is fair.

Take a peek at these websites for more information: www.GoldenGlow.org; www.RucusStudio.com

ADDITIONAL IMAGES OF NOTE

Like many Belsnickle candy containers, this one separated at the boots to reveal an intact tube for stashing candy or a small toy. It sold for $7,000 in Bertoia Auctions’ September 2014 auction. Photo courtesy Bertoia Auctions.

All Belnickles are fragile, but it’s especially amazing that this 20-inch figure with glass eyes and a glass icicle beard survived intact. The rare figure, standing on a mica-flecked snow mound and cradling a feather tree, fetched $17,000 at Bertoia Auctions’ November 2013 sale. Photo courtesy Bertoia Auctions.

This stunning 18-inch gold Belsnickle candy container brought $6,000 at Dan Morphy Auctions’ September 2011 sale. Photo courtesy Dan Morphy Auctions LLC.

A few Belsnickles from the collection of Lorraine Jones. The Peabody, Mass., accountant says she often goes into the room where they are stored in a glass case just to look at them. Photo courtesy Lorraine Jones.

Jones uses her Belsnickles to decorate with at Christmas time. Here a few Belnickles on her fireplace mantel with an advertising painting of Santa Claus by artist Fred Craft. Photo courtesy Lorraine Jones.

This Belsnickle, with his fabric coat and soulful eyes, looks nearly like a modern-day Santa. Photo courtesy Lorraine Jones.

Scott Smith’s collection of Belsnickles spend most of their time in a glass display case in his art studio. Photo courtesy Scott Smith, Rucus Studios, Michigan.

A pair of figures from the collection of Scott Smith shows Belsnickle the punisher, with his bundle of sticks, and the Christmas Angel or Kristkind with a sack of presents. Photo courtesy Scott Smith, Rucus Studios.

One of the typical ways Scott Smith uses his Belsnickles to decorate for the holidays. Photo courtesy Scott Smith, Rucus Studios.

Bill Steely has assembled a collection of Belsnickles with exposed hands and relaxed poses. Photo courtesy Bill Steely.

Compared to Belsnickle, Krampus is a really scary character. Here a decorative Krampus mask from the collection of Bill Steely, Westchester County, NY. Photo courtesy Bill Steely.

Phoenix residents object to plans for Wright house

The David and Gladys Wright House was designed and built for the architect's son David and his wife. The house has a spiral design that anticipates that of the Solomon R. Guggenheim Museum in New York. Image by Lockley, courtesy of Wikimedia Commons.

PHOENIX (AP) – The owner of a Phoenix home designed by architect Frank Lloyd Wright will face resistance if he tries to turn the property into a major tourist attraction, residents said.

Zach Rawling, a Las Vegas attorney who purchased the house last year, wants to incorporate an underground museum and other expansions, according to his attorney.

Paul Gilbert said Rawling wants to put in a 25,000-square-foot facility that will include a stage and gallery space, the Arizona Republic reported. Rawling has purchased three neighboring properties to tear down for more open space. But Rawling asked the city in March to delay consideration of an historic preservation designation on the structure.

According to Gilbert, more time is needed to pursue new zoning rules for parking and public visitation. And that has residents worried.

“Once they have a (planned unit development), that opens the door for development,” said Luis Argueso, who lives around the corner from the house. “We have zoning laws for a reason. It’s zoned as a neighborhood.”

Members of the local neighborhood association recently circulated a petition rejecting Rawling’s ideas. But some do not share their opposition, including association president Richard Rea.

“It seems like the owner and the attorney are making every effort to do what will be the least intrusive and it will be something that everybody in Phoenix will be proud of,” Rea said.

The previous owner had planned to demolish the house in order to develop the property in the Arcadia neighborhood of east Phoenix. Talk of knocking down the structure triggered an outcry from locals and preservationists. Gilbert said Rawling is an enthusiast of Wright’s architecture and residents should wait to hear more about his plans. So far, Rawling has had crumbling walls reinforced and more than 100 olive trees planted, Gilbert said.

Nieghbors’ concerns are being considered, Gilbert said. Once the house becomes a public museum, noise levels would be enforced and visitors would park at a church next door.

But some neighbors say it is all too much.

“We’ll do whatever it takes to put a stop to it,” Argueso said.

___

Information from: The Arizona Republic, http://www.azcentral.com

AP-WF-12-20-14 1743GMT

ADDITIONAL IMAGE OF NOTE

Confederacy spawned South Carolina’s brutal Red Shirts

A red shirt worn by militants in political rallies and in African American neighborhoods to intimidate voters in the late 1800s South. Image by RadioFan. This file is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported license.

EDGEFIELD, S.C. (AP) – The home of a Confederate officer who helped take power away from blacks and drive Republicans out of South Carolina’s government after the Civil War is now a museum honoring the Confederacy and its leaders. They include the “Red Shirts” who used violence and intimidation to end Reconstruction in the state.

The Oakley Park Museum in Edgefield County is run by the local Daughters of the Confederacy chapter. It’s a small museum, full of furniture from the late 1800s, portraits of the men who lived there and other Confederate icons like Gen. Robert E. Lee and President Jefferson Davis and his wife, Varina.

It houses a large collection of swords and guns, including a rifle carried by future governor Ben Tillman during the July 1876 Hamburg Massacre, where at least four free blacks were executed by a crowd of 100 or more white men after a gunfight.

The privately run museum in downtown Edgefield is in a mansion bought after the Civil War by Confederate Gen. Martin Gary.

Gary would be one of the chief leaders of the Red Shirts, giving a speech from his home’s balcony to thousands, encouraging them to challenge the blacks and Republicans running the state after the Civil War and elect Democrat Wade Hampton governor.

The Red Shirts chose their attire to be visible and intimidating. Similar groups formed in a number of Southern states as whites who fought for the Confederacy or were sympathetic to their cause went from accepting a humbling defeat in the Civil War to using cunning, force, backroom deals and some skullduggery to get back in power.

“It was a very tumultuous time. It was history and you can’t erase it,” said Elizabeth Ready, who runs the museum and is a member of the United Daughters of the Confederacy in Edgefield thanks to her great-great grandfather, Gregory Baynham, who fought for the Kentucky Orphans Brigade. “Those men did what they thought they had to do.”

South Carolina’s Red Shirts were especially brutal. Executing some of the black men who were surrounded in Hamburg’s armory and surrendered was just the beginning.

Historians said the Red Shirts killed perhaps as many as 50 blacks in armed confrontations around the state during the 1876 gubernatorial campaign, which was so close that South Carolina had two people claiming to be governor and two groups of men claiming to be the state House.

Oakley Park paints the Red Shirts as people trying to restore South Carolina from its Civil War demise and save it from corrupt Republicans and carpetbaggers. The museum doesn’t dwell on the harassment and massacres of blacks.

“Do you expect that in South Carolina? Do you expect that in America?” said Lonnie Randolph, president of the state chapter of the NAACP. “You can’t expect that, whether it is the right thing or not.”

Of those 219 museums in South Carolina, 11 of them deal exclusively with the military, seven of them with the Civil War.

___

Follow Jeffrey Collins on Twitter at http://twitter.com/JSCollinsAP

AP-WF-12-20-14 1804GMT

ADDITIONAL IMAGE OF NOTE

N. Michigan snowmobile museum features historic sleds

This quart can of snowmobile motor oil sold for $50 at an auction conducted by Mathews Auctions of Nokomis, Ill. Image courtesy of LiveAuctioneers.com archive and Mathews Auctions LLC.

NAUBINWAY, Mich. (AP) – Roaring into its second year of operation at the new location, Top of the Lake Snowmobile Museum in Naubinway is deriving tremendous benefit from moving to its new location.

“We have 80 different brands of snowmobiles here,” said John Batchelder, adding there are approximately 140 different displays.

The museum’s oldest machine, a 1936 Westendorf, was built by a Bay City, Mich., man to fit in the back of his Model T truck for ice fishing, according to The Evening News. The fastest machine currently on display is described as a Boss Cat III, designed for drag racing, which posted a top speed of 128 mph. This addition, in the ever-changing rotation of displays, recently replaced the previous fastest machine – Miss Budweiser – that reached 201 mph in 1990.

The 1969 I-500 machine piloted by Dan Planck when he captured the flag in the innaugural running of snowmobile’s biggest race is featured in the racing section.

The Timberwolf, one of only eight produced, was built in Sault Ste. Marie by Dick Zabelka and Dr. Tom Robinson.

“We can account for four of them,” said Charlie Vallier while conducting a tour of the museum. “We have two; one was crushed and another was burned up in a fire. There are four of them missing and we would love to know where they are.”

Of the old machines represented, many are one-of-a-kind creations – either special prototypes or homemade machines by barnyard engineers. But the museum’s rich history reveals that many big manufacturers – Evinrude, Johnson, Mercury, John Deere and Harley-Davidson – also entered into the booming snowmobile market as their popularity caught on with the general public.

Of all the manufacturers, only four still survive: Arctic Cat, Polaris, Ski-Doo and Yamaha.

“We’re looking for the unique sleds that have a history,” said Vallier, noting there is waiting list to get even worthy machines on display as the snowmobile collectors from near and far are more than willing to put their machines on loan to be included in the museum.

“We have plenty of machines to add on,” said Vallier with one eye on the future and a second on the finances, “but we’ll pay for this first.”

“There are other museums out there,” said Batchelder, admitting Top of the Lake might not be the biggest, “but we are about the history of snowmobiling – here we have all brands and the memorabilia along with it.”

The move to the site just off of U.S. Route 2, made in October 2013, has paid great dividends in the form of increased traffic. Vehicular traffic through the prime summer tourist season was drawn to the site due to the close proximity of the main east to west artery, both men explained. And Trail No. 2, which connects Drummond Island to Calumet, Mich., draws snowmobile traffic in the winter months.

“Sometimes there won’t be a vehicle in the parking lot,” said Batchelder, “but we’ll have a dozen or more snowmobiles.”

Vallier added that on cold days the riders like to come in, have a hot chocolate in the conference room to warm up and then tour the heated facility. Maybe even, Vallier added, warm their feet by the fireplace.

The Top of the Lake Museum is open seven days a week from 9 a.m. to 5 p.m.

___

Information from: The Evening News, http://www.sooeveningnews.com

AP-WF-12-22-14 1022GMT

ADDITIONAL IMAGE OF NOTE

South Dakota historical marker found in Alabama

Historic West Nidaros Lutheran Church in Crooks, S.D. Image courtesy West Nidaros Lutheran Church.

CROOKS, S.D. (AP) – A 75-pound historical marker that once stood in South Dakota has been found in Alabama. But how it got there remains a mystery.

The 54-by-44-inch metal slab at one point could be seen outside West Nidaros Lutheran Church near Crooks.

Alabama resident Sherry Clayton tells the Argus Leader that she contacted the Minnehaha County Historical Society after she saw the marker at an auction website. The group, in turn, contacted the sheriff’s office. And authorities then contacted the auction house that had the marker.

Authorities and the auctioneer speculated that a visiting pheasant hunter might have stolen the marker.

But Joan Eitrheim, a member of the committee that oversaw the marker’s installation in 1997, said that’s not the case. Eitrheim says the marker was once damaged when it was struck by a church member’s car, but she insists it was not stolen.

___

Information from: Argus Leader, http://www.argusleader.com

AP-WF-12-20-14 2243GMT

ADDITIONAL IMAGE OF NOTE

Tenn. city studies preservation of its ‘ghost signs’

Ghost sign for a defunct clothing store in Salem, Mass. Image by Fletcher6. This file is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported license.

CLARKSVILLE, Tenn. (AP) – Officials in Clarksville are studying the feasibility of preserving and restoring 19th century advertising signs scattered around its historic downtown.

The ads are typically located on bare, brick exterior walls of buildings. The so-called “ghost signs” are fading and disappearing as they are gaining more attention for their historical value.

The Leaf-Chronicle reports the study is a project of the downtown and riverfront revitalization group, Two Rivers Company.

Clarksville-Montgomery County Arts & Heritage Council Director Ellen Kanervo says people are starting to see the value in the old signs and want to preserve them, though they disagree on how.

“You see them all over the U.S. – St. Louis has them, for example, and Clarksville has its fair share. Many of them have been pressure-washed to the point that their messages are hard to distinguish. In previous decades, they’ve been viewed as an indicator of inner-city blight. In the 1950s and ’60s people saw them just as old signs with no real value. But now we’re beginning to see them as a piece of local history, reflecting life from a century ago,” Kanervo said.

The council has partnered with Two Rivers Company for the study phase of the project. Kanervo said funding is available through Two Rivers to make improvements to downtown.

“Some of this funding might be spent on making ghost signs more attractive through preservation or restoration work – and that is where a certain amount of disagreement lies,” Kanervo said.

“Purists think these ghost signs should be handled in a way that respects their history without painting over them. The precedent has been set in some towns that have used paint with modern chemical components that interact with the original paint that’s still visible, and it ultimately does more damage to the appearance of the sign,” she said.

“And then, the other school of thought would be to try to restore the signs in a way that attempts to make them look new.”

Kanervo said at this point she favors making case-by-case decisions.

“For example, we have the turn-of-the-century Uneeda Biscuit ad on the old Poston Building downtown, and with it, I personally would not recommend touching it with modern paint,” she said. “I think it could ruin it.”

She said discussions on the city’s ghost signs are continuing.

___

Information from: The Leaf-Chronicle, http://www.theleafchronicle.com

AP-WF-12-21-14 1535GMT

ADDITIONAL IMAGE OF NOTE

Black Forest hall tree reaches $19,600 at S&S Auctions

Fine and rare antique Black Forest carved hall rack with life-size, 30-inch dog. Sold for $19,600. S & S Auctions Inc. image

REPAUPO, N.J. – An antique Black Forest hall rack, rare and highly collectible mainly for its finely carved, life-size dog, 30 inches tall, sold for $19,600 at an estates auction held Nov. 16-17 by S & S Auctions Inc. The hall tree was the top achiever of the 783 lots offered in an auction that grossed $857,500. LiveAuctioneers.com provide Internet live bidding.

Black Forest ware – 19th century Swiss carvings of forest animals, trees, branches and leaves – are highly coveted as collectibles. That this example featured a dog – a life-size dog at that – only increased its cache and market value, even taking into account some repaired seams. The hall tree, overall 84 inches tall and 32 inches wide, was magnificent and in very good condition.

“We were very pleased that this auction featured several large collections of a high quality caliber,” said Glenn Sweeney of S & S Auctions Inc. “We had great examples of French items, sculptures and furniture, among other categories. It was a successful and heavily attended sale, in person and online.” Internet bidding was provided by LiveAuctioneers.com and Invaluable.com.

The action kicked off on Sunday, Nov. 16, with 319 cataloged lots. Then, on Monday morning, a discovery sale featuring around 2,000 uncataloged lots was held, followed by the second session of the catalog auction at 1 p.m., with 464 lots. Headlining the sale was the estate of a prominent, deceased physician Ventnor, N.J., and items from a retired auctioneer from northern New Jersey.

Following are additional highlights from the auction. All prices quoted include a 22.5 percent buyer’s premium.

The biggest surprise of the sale (and the second top lot of the auction) was an Emile Galle etched art glass vase, just 3¼ inches tall and etched with a goddess riding a dolphin with two maidens. The vase was signed Emile Galle for Nancy and was clear glass with blue and green veins. Galle is desired as a collectible, but this example roared past its high estimate of $3,000 to hit $14,700.

An antique gilt carved center table with pietra dura top fetched $11,025. Pietra dura (Italian for “hardstone”) is a decorative technique in which precious or semi-precious stones are inlaid into the marble or other soft stone. Also, a 19th century French parquetry bureau-plat, a flat-top writing table with drawers to the frieze, having finely cast bronze mounts, in good condition, hit $4,900.

Items from France dominated the list of top lots. A French Chronos & Amour gilt and patinated figural bronze clock on a bronzed mounted marble base, 20½ inches tall and in good condition, went for $13,475; and a pair of 19th century French gilt bronze cherub candelabra with marble bases, rewired as lamps and having very fine casting, 37¼ inches tall, lit up the room for $6,738.

A pair of exceptionally fine, antique French bronze mounted stands with inlaid tops and bronze mounts, in very good condition except for some minor damage to one drawer, changed hands for $7,669. Also, a pair of antique 27-inch French gilt bronze mounted cobalt vases with finely cast gilt bronze mounts and porcelain inserts, 18½ inches tall and, in good condition, rose to $4,900.

A 19th century French gilt carved marble-top vitrine painted over gold gilt, mirror backed, with glass shelves, 58¼ inches tall, in very good condition, sold for $3,675; and a Baker Collector’s Edition Louis XV-style tooled leather-top bureau-plat desk with bronze mounts and feet, 30 inches tall and 66 inches wide, found a new owner for $3,369.

Bronze pieces did exceptionally well. A patinated and gilt bronze sculpture, signed “A. Mercie” and “F. Barbedienne,” 37 inches tall and with fine casting, garnered $11,638. A pair of French Empire-style gilt and patinated bronze classical masks and claw feet brought $3,062, and a pair of finely cast antique bronze showcases with glass tops, 39 inches tall, achieved $15,925.

Schmieg & Kotzian was a furniture maker that began in London in 1899 and relocated to New York City in 1907. Examples in the auction included a 20-foot banded top dining table with inlay and claw foot pedestals, which sold for $11,638; a set of 14 English-style Georgian mahogany dining chairs, $9,188; and a mahogany breakfront with bow glass center doors, 90½ inches tall, $5,512.

Rounding out some more of the sale’s top lots, an antique oak slot machine with cast metal art nouveau panels on the front, in working condition but in need of adjustment realized $7,962; and an antique 52 inch by 44½ inch Oriental rug, in fair condition with minor fraying, made $6,431.

S&S Auction Inc., established in 1972, is always accepting quality consignments. Call them at 856-467-3778, or send them an email at info@ssauction.com.

Click here to view the fully illustrated catalog for this sale, complete with prices realized.

ADDITIONAL LOTS OF NOTE

Sign up for daily highlights by email